Pretty boy Billy (Jude Law) is an amoral rebel without a cause. His anarchic response to a bleak London existence is to steal cars and drive them through shop windows: "crash and carry," as one fellow "shopper" terms it. But he and his tough, video-game obsessed gal-pal Jo (Sadie Frost) are no Bonnie and Clyde. Their shopping trips are merely a pretext for the adrenaline rush of destruction and the thrill of playing high-speed tag with the cops, a game that starts to wear thin on Jo. "Why don't you grow up, eh?" she finally asks. "And do what?" he helplessly replies. The feature debut of Brit stylist Paul Anderson (Event Horizon) is a sleek film of misty alleys, blue-lit underground garages, and slick city streets. It's a dystopian London of the near future through the lens of Blade Runner driven almost single-handedly by Law's reckless charm and wild energy. It's hard to tell if the film is about the nihilism of sensation-hunting lost youth or simply a sensational melodrama of aimless rebellion, but there's nonetheless something irresponsibly appealing in Billy's anti-establishment rampage. -Sean Axmaker.

Spider-Man 2 More than a few critics hailed Spider-Man 2 as "the best superhero movie ever," and there's no compelling reason to argue-thanks to a bigger budget, better special effects and a dynamic, character-driven plot, it's a notch above Spider-Man in terms of emotional depth and rich comic-book sensibility. Ordinary People Oscar-winner Alvin Sargent received screenplay credit, and celebrated author and comic-book expert Michael Chabon worked on the story, but it's director Sam Raimi's affinity for the material that brings Spidey 2 to vivid life. When a fusion experiment goes terribly wrong, a brilliant physicist (Alfred Molina) is turned into Spidey's newest nemesis, the deranged, mechanically tentacled "Doctor Octopus," obsessed with completing his experiment and killing Spider-Man (Tobey Maguire) in the process. Even more compelling is Peter Parker's urgent dilemma: continue his burdensome, lonely life of crime-fighting as Spider-Man, or pursue love and happiness with Mary Jane Watson (Kirsten Dunst)? Molina's outstanding as a tragic villain controlled by his own invention, and the action sequences are nothing less than breathtaking, but the real success of Spider-Man 2 is its sense of priorities. With all of Hollywood's biggest and best toys at his disposal, Raimi and his writers stay true to the Marvel mythology, honoring Spider-Man creators Stan Lee and Steve Ditko, and setting the bar impressively high for the challenge of Spider-Man 3. -Jeff Shannon.

X-Men 2 picks up almost directly where X-Men left off: misguided super-villain Magneto (Ian McKellan) is still a prisoner of the US government, heroic bad-boy Wolverine (Hugh Jackman) is up in Canada investigating his mysterious origin, and the events at Liberty Island (which occurred at the conclusion of X-Men) have prompted a rethink in official policy towards mutants-the proposed Mutant Registration Act has been shelved by US Congress. Into this scenario pops wealthy former Army commander William Stryker, a man with the President's ear and a personal vendetta against all mutant-kind in general, and the X-Men's leader Professor X (Patrick Stewart) in particular. Once he sets his plans into motion, the X-Men must team-up with their former enemies Magneto and Mystique (Rebecca Romjin-Stamos), as well as some new allies (including Alan Cumming's gregarious, blue-skinned German mutant, Nightcrawler). The phenomenal global success of X-Men meant that director Bryan Singer had even more money to spend on its sequel, and it shows. Not only is the script better (there's significantly less cheesy dialogue than the original), but the action and effects are also even more stupendous-from Nightcrawler's teleportation sequence through the White House to a thrilling aerial dogfight featuring mutants-vs-missiles to a military assault on the X-Men's school/headquarters to the final showdown at Stryker's sub-Arctic headquarters. Yet at no point do the effects overtake the film or the characters. Moreso than the original, this is an ensemble piece, allowing each character in its even-bigger cast at least one moment in the spotlight (in fact, the cast credits don't even run until the end of the film). And that, perhaps, is part of its problem (though it's a slight one)-with so much going on, and nary a recap of what's come before, it's a film that could prove baffling to anyone who missed the first installment. But that's just a minor quibble-X-Men 2 is that rare thing, a sequel that's actually superior to its predecessor. -Robert Burrow.

Pandora couldn't resist opening the forbidden box containing all the delusions of mankind, and let's just say in Mulholland Drive David Lynch indulges a similar impulse. Employing a familiar film noir atmosphere to unravel, as he coyly puts it, "a love story in the city of dreams", Lynch establishes a foreboding but playful narrative in the film's first half before subsuming all of Los Angeles and its corrupt ambitions into his voyeuristic universe of desire. Identities exchange, amnesia proliferates and nightmare visions are induced, but not before we've become enthralled by the film's two main characters: the dazed and sullen femme fatale, Rita (Laura Elena Harring), and the pert blonde just-arrived from Ontario (played exquisitely by Naomi Watts) who decides to help Rita regain her memory. Triggered by a rapturous Spanish-language version of Roy Orbison's "Crying", Lynch's best film since Blue Velvet splits glowingly into two equally compelling parts. -Fionn Meade.

Cute but silly, this 1983 cautionary fantasy stars Matthew Broderick as a teenage computer genius who hacks into the Pentagon's defence system and sets World War III into motion. All the fun is in the film's set-up, as Broderick befriends Ally Sheedy and starts the international crisis by pretending while online to be the Soviet Union. After that, it's not hard to predict what's going to happen: government agents swoop in, but the story ends up in the "hands" of machines talking to one another. Thus we're stuck with flashing lights, etc. John Badham (Saturday Night Fever) directs in strict potboiler mode. Children still like this movie, though. -Tom Keogh, Amazon. com.

Iron Monkey is a thrilling 1993 adventure directed by Yuen Woo-Ping, now better known as the action director of The Matrix and Crouching Tiger, Hidden Dragon. Audiences who approach Iron Monkey after seeing the latter two Hollywood-produced hit movies will not be disappointed here, either by the physical prowess of the stars or the astonishing action set-pieces (especially an interlude atop a set of "Chinese poles"), which are staged for maximum dynamism. The story concerns the real-life Cantonese patriot Wong Fei-Hung, who is first introduced as an earnest boy travelling with his upright pugilist father (Donnie Yen) and drawing inspiration from the activities of the benevolent masked bandit known as the Iron Monkey (Yu Rong-Guang), a sort of Oriental Robin Hood. Ever since the late 1800s Wong Fei-Hung has evolved into an icon of Chinese pop culture and he's been a central figure in Hong Kong cinema since the 1950s, notably in Tsui Hark's Once Upon a Time in China series. Yuen Woo-Ping's fight sequences for his version of the legend are a powerful combination of the older, Baltic style of kung fu action and the newer body-slamming style pioneered by Jackie Chan and Sammo Hung. If you thought you were allergic to martial arts but loved Crouching Tiger, Hidden Dragon, this is the perfect picture to continue your exploration of the genre. -David Chute, Amazon. com On the DVD: This is a handsome-looking anamorphic (16:9) widescreen transfer, although the soundtrack is in mono. You can select either the dubbed English version or the original Cantonese with English subtitles. Extra features include trailers, photo galleries, biographies and interviews with both star Donnie Yen (in English) and director Yuen Woo-Ping (subtitled).

This original version of The Getaway better than the 1994 remake starring Kim Basinger and husband Alec Baldwin, but this 1972 thriller relies too heavily on the low-key star power of Steve McQueen and Ali MacGraw, and the stylish violence of director Sam Peckinpah, reduced here to a mechanical echo of his former glory. McQueen plays a bank robber whose wife (MacGraw) makes a deal with a Texas politician to have her husband released from prison in return for a percentage from their next big heist. But when the plan goes sour, the couple must flee to Mexico as fast as they can, with a variety of gun-wielding thugs on their trail. MacGraw was duly skewered at the time for her dubious acting ability, but the film still has a raw, unglamorous quality that lends a timeless spin to the familiar crooks-on-the-lam scenario. As always, Peckinpah rises to the occasion with some audacious scenes of action and suspense, including a memorable chase on a train that still grabs the viewer's attention. -Jeff Shannon.

Anti-Trust is a gripping thriller, and although far from being great filmmaking it is at least notable for being about something important and having the will to follow it through. Macro software company NURV, based on a giant "campus" in the Pacific North West and under investigation by the Department of Justice, is planning to launch a proprietary broadband Internet. Ryan Philippe is adequate as the young geek hero, though Tim Robbins dominates the film as CEO Gary Winston, a skilfully cutting interpretation of a power-corrupted software multibillionaire; Gary Sinise offers an equally compelling characterisation. Peter Howitt directs in broad strokes, keeping things exciting if not exactly subtle, while Don Davis' score is alternately suspenseful and overblown. Howard Franklin's screenplay offers surprising plot detail and a couple of good twists while straining credulity with hoary thriller clichés. Nevertheless, the technical stuff is far more accurate than usual, despite the Hollywood compromises. Anti-Trust provides a rallying cry against the global domination of global communications for the profit of the few, the final 15 minutes delivering an uplifting if simplistic wish-fulfilment fantasy. On the DVD: The Dolby Digital 5. 1 sound is highly atmospheric, though the anamorphically enhanced 2. 35:1 image is only average, some grain and artefacting letting down the sleek look and elegant design of the film. [+]